'MY TROUBLESOME DARLING, I LOVE YOU' has MELODY and ORCHESTRATION of such an 'ORIENTAL' TANG. It really is, like so many PAKISTANI FILM SONGS, just a SONG LIKE NO OTHER. The MELODIC ENGINEERING of the NUMBER has PARALLELS with IN…
'MY TROUBLESOME DARLING, I LOVE YOU' has MELODY and ORCHESTRATION of such an 'ORIENTAL' TANG. It really is, like so many PAKISTANI FILM SONGS, just a SONG LIKE NO OTHER. The MELODIC ENGINEERING of the NUMBER has PARALLELS with INDIA'S R. D. BURMAN'S 'KYA YEHI PYAR HAI?'/'IS THIS LOVE' from 1981 HINDI FILM: 'ROCKY': https://www.youtube.com/watch?v=sVT0PSKGuME MUSIC DIRECTORS, R. D. BURMAN and M. ASHRAF both CREATE a TUNE that RARELY EVER HITS the HOME, or 'TONIC' NOTE [Do/Sa].The FIRST NOTE of BOTH TUNES BEGINS on a TONE in the MIDDLE of the SCALE and HOVERS round PITCHES that are NOT on the TONIC for MOST of the MELODY. This 'VOICE THAT NEVER GOES HOME' has an 'EMOTIONAL PULL' of 'WANTING TO GO HOME' but RARELY HITS it. So the WHOLE SONG seems to 'FLOAT ON THE CLOUDS' in an ODD WAY that ONE CAN NOT PUT ONE'S FINGER ON what is HAPPENING to CREATE this EMOTION? 'TAKALLAF BAR TARAF JANAN' also has a very 'ORIENTAL' SET of PITCHES for SINGING and ORCHESTRA which EXAGGERATES the 'COLOURFULNESS' of the SOUNDSCAPE that GIVES a SHIMMER of almost CHINESE MUSIC at TIMES. A sort of MIX of HINDUSTANI and CHINESE CLASSICAL PENTATONIC [five note] TRADITIONS making 'MUGHAL'. The SONG is SUCH a GLORY of this BEAUTIFUL SOUND of LONGING and THE ORIENT. The VIBRANT PITCHES of the CHORUS are FURTHER CONTRASTED with PITCHES of a DIFFERENT MODE/SCALE in the VERSE on the DOMINANT/NOTE 5 [So/Pa] 'PLATEAU' adding more PROGRAMMATIC 'LONGING' to the VOCAL.
The VOICE of PLAYBACK SINGER: NAHID AKHTAR is SPARKLING in HEAD TONE and DENTAL HARMONICS [shining overtones of notes bouncing around resonators]. The AKHTAR 'STUDIO SINGER VOICE' is BATHED in a RAINBOW of ELECTRONIC REVERB which gives a GODDESS-LIKE SOUND to the FINAL MIX of the VOCAL. Making it almost 'DIVINE' in SOUND. The VOICE is RINGING with HUNDREDS of MICRO BELLS of HARMONICS which GIVES a FURTHER 'ORIENTALISATION' to the BEAUTY and VARIETY of the GHAZAL. The ELECTRONIC REVERB is CAREFULLY ADJUSTED during the SONG to 'DRENCH' the VOICE in ECHO at STRATEGIC TIMES of LOUD DYNAMICS, HIGH NOTES, or END of PHRASE NOTES LEADING OUT into NO-DRUM SILENCES that FILL the VOID with WAVES of THRILL of EXITING VOCAL OUTRO. NAHID AKHTAR'S VOICE, like many PAKISTANI CINEMA VOCALISTS, is TOTALLY UNIQUE in the WORLD in its TIMBRE and PERFORMANCE STYLE. She often sang in URDU, rather than PUNJABI FILMS.
The ORCHESTRATION is another IDIOSYNCRATIC KALEIDOSCOPE of UNIQUENESS of the SONG. There is a WESTERN GUITAR that is PLAYED on SEPARATE NOTES in a TOTALLY UN-WESTERN WAY. This is CONTRASTED by a LARGE and HEAVILY REVERBED CLOSE-MIC VIOLIN SECTION. The VIOLINS are PLAYING STRANGE NOTES and FIGURES under the SINGER but they are LAYERED and NOT WESTERN HARMONY, but they 'HINT' at IMITATING WESTERN HARMONY, or at least the VIOLINS do have INDEPENDENT LINES away from the MELODY LINE. This adds CURIOUS ORCHESTRAL LOGIC and more MYSTERIOUS and STRANGE SOUND to the SONG. The VIOLINS often PLAY at SURPRISINGLY LOW PITCH [more like ARAB
